<html><P>---------- Original Message ----------<BR>From: Micha Berger <A href="mailto:micha@aishdas.org">micha@aishdas.org</A><BR><BR><<As for the origin, bemechilas kevod toras R' Dovid Cohen, I think it<BR>has a basis.>></P>
<P>So, the basis is<BR><BR><<There is a minhag Frankfurt-am-Main to sing one tune for the beginning to<BR>His'oreri -- using one tune for Shamor and Liqras Shabbos (about Shabbos)<BR>as well as for the verses about galus.<BR><BR>Then they switched to a happy tune for *His'oreri*, when the piyut starts<BR>discussing the Ge'ulah.<BR><BR>And then for the return to discussing Shabbos in Bo'i veShalom they<BR>would *switch back*.>></P>
<P>I needn't say it, because you did:<BR><BR><<Not exactly the same minhag, but the beginning of the idea.>><BR><BR>Then, instead of a mekor, you give a sevara:<BR><BR><<Second, this is a piyut written in Tzefas that has 10 stanzas (if you<BR>count the initial use of the chorus as a stanza) and is written for<BR>Shabbos. I am not an authority on qabbalah, but I would be surprised to<BR>learn that there is no motivation based on the Eitz Chayim for changing<BR>tunes after 6 stanzas, the sefiros related to the work-weak>></P>
<P>The sevara is, just that, a sevara. Plus a mekor for a different minhag.</P>
<P>A mekor for the minhag at hand is still missing.<BR><BR>Gershon<BR><A href="mailto:gershon.dubin@juno.com">gershon.dubin@juno.com</A></P>
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